Untitled A2 is a publication that documents the project of the same title, Untitled A2, from 2013-2016.
Four blank scans of A4 stationary paper are tiled as one A2 graphic and act as the stable base for various experiments with (primarily) offset printing. The publication features individual works, works in series, installations, and drawings. As an offset printed object itself, the publication stands as a full loop of the project, but also as a document that is designed as an exhibition.A project by Mitchell Thar, book design and editing by Ott Metusala, with an essay by Andrew Christopher Green.

Now in its sixth year, This is the Same Ocean returns to present new work from some of the world’s most intriguing contemporary photographers. Featuring a cover image by Foam Talent Heikki Kaski, issue 6 features the work of Tine Bek, Shannon May Powell, Lola Paprocka and Victoria Zschommler, alongside Kaski and editor Samuel J Davison.

This publication contains pictures of eighty-four different hand tools from the collection of Michael Marriott. It celebrates the objects both for their function and for their inherent beauty in repose. Accompanying the objects is an essay by Neil Cummings entitled “Look at me, Look at me, Look at me”, which was originally published in Architectural Design magazine in 2002. It explores Reyner Banham’s notion of the “furniturisation” of everyday objects, and questions why previously unselfconscious domestic artifacts are now promoted as great design.

Strappato is published on the occasion of the exhibition « Blind approximate » at Château de Gruyères.

It combines works of Michael Rampa (born in 1977 in Château-d’Oex, lives and works in Lausanne). Using precise protocols, the book tries to deconstruct and reconfigure the specifications and the original materials in Rampa’s paintings.

This book was the last book publish with tradtionnal type setting by the Imprimerie National, printed on heavy paper.
Most of the work reproduced are printed in black, 2 colors (mainly black and red inks) or more as the Piet Zwart page printed in 3 colors (dark blue, red and yellow)

Jérôme Peignot is born in a family of typographer and type creator, his grand-father was the founder of was became Deberny-Peignot. This historical enterprise worked with Balzac and his father Charles had introduced photocomposition in France and directed the Editions des Arts et Métiers graphiques.

Jérôme Peignot is developping this poetry genre called Visual Poetry, Konkrete poetry or just “Typoésie” (Typoetry). What we called a game is the meeting of litterature with typographical art: searching the meaning of the world in the design of words.

This poetry appear with the help of various tools: from letters, to punctuation, numbers and notes, this anthology is divided into five parts: Typography, Visual poetry, figures, Painting, Music.

Typography: Zwart, Cassandra‘s Bifur, Lubalin, etc.

Visual poetry: Gomringer, Mon and Rühm (Germany). Pignatari and the Campos brothers (Brazil). Italian poets, British, Spanish and American enrich this pratice in a rebellious or advertising use. Peignot admits his fascination with work by Ockerse of Solt, Williams and Xisto